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American Music: A Panorama

Summary

This best-selling survey text describes American music as a collection of distinct strains of music--including popular, folk, sacred, classical, blues, jazz, and rock music - that have evolved into a musical panorama reflecting the nation's unique character. By comparing and contrasting America's musical styles across regions and time periods, Kingman delivers a clear vision of American music that encompasses the historical sources of all American music, the ways in which diverse styles have influenced each other, and the cultural contributions of America's innovative and original composers.

Author Biography

Daniel Kingman is a professor emeritus of music at California State University, Sacramento. He is a well-known authority on American music.

Table of Contents

AUTHOR'S GUIDE TO THE CONCISE EDITION

xi

PART ONE. Folk and Ethnic Musics

3

(74)

Chapter 1. The Anglo-American Tradition

3

(17)

"Barbara Allen" as a Prototype of the Anglo-American Ballad

3

(2)

Print and the Ballad

5

(1)

Imported versus Native Ballads

6

(1)

The Music of the Ballads

7

(2)

Fiddle Tunes

9

(3)

Folk Music as an Instrument of Persuasion in the Twentieth Century

12

(8)

Chapter 2. The African-American Tradition

20

(20)

African Music and Its Relation to Black Music in America

20

(1)

Religious Folk Music: The Spiritual

21

(6)

Secular Folk Music

27

(13)

Chapter 3. The American Indian Tradition

40

(13)

Music in Aboriginal Indian Life

41

(5)

Characteristics of Indian Music

46

(1)

Indian Music and Acculturation

47

(6)

Chapter 4. The Latino Tradition

53

(24)

Sacred Music from Mexico

53

(3)

Secular Music from Mexico

56

(11)

Music from the Caribbean and South America

67

(10)

PART TWO. Three Prodigious Offspring of the Rural South

77

(62)

Chapter 5. Country Music

77

(23)

Enduring Characteristics of the Music

77

(4)

Enduring Characteristics of the Words

81

(3)

Commercial Beginnings: Early Recordings, Radio, and the First Stars

84

(3)

The West: The Cowboy Image

87

(1)

The West: Realism and Eclecticism

88

(1)

Postwar Dissemination and Full-Scale Commercialization

89

(4)

The Persistence and Revival of Traditional Styles

93

(7)

Chapter 6. Blues and Soul: From Country to City

100

(14)

Early Published Blues

100

(2)

Classic City Blues

102

(2)

Blues and Jazz

104

(1)

Boogie-Woogie

105

(1)

The Absorption of Country Blues into Popular Music

106

(3)

The Soul Synthesis

109

(1)

Blues in the 1990s

110

(4)

Chapter 7. Rock and Its Progeny

114

(25)

Characteristics of the Music

114

(3)

Characteristics of the Words

117

(5)

A Brief History of Rock's Times and Styles

122

(17)

PART THREE. Popular Sacred Music

139

(42)

Chapter 8. From Psalm Tune to Rural Revivalism

139

(22)

Psalmody in America

139

(3)

The Singing-School Tradition

142

(6)

The Frontier and Rural America in the Nineteenth Century

148

(8)

Music Among Our Smaller Independent Sects

156

(5)

Chapter 9. Urban Revivalism and Gospel Music

161

(20)

Urban Revivalism After the Civil War: The Moody-Sankey Era of Gospel Hymns

161

(2)

The Billy Sunday-Homer Rodeheaver Era: Further Popularization

163

(3)

Gospel Music After the Advent of Radio and Recordings

166

(15)

PART FOUR. Popular Secular Music

181

(62)

Chapter 10. Secular Music in the Cities from Colonial Times to the Jacksonian Era

181

(13)

Concerts and Dances

181

(3)

Bands and Military Music

184

(2)

Musical Theater

186

(3)

Popular Song

189

(5)

Chapter 11. Popular Musical Theatre from the Jacksonian Era to the Present

194

(23)

Minstrelsy and Musical Entertainment Before the Civil War

194

(6)

From the Civil War Through the Turn of the Century

200

(3)

The First Half of the Twentieth Century

203

(7)

The Musical Since the Advent of Rock

210

(7)

Chapter 12. Popular Song, Dance, and March Music from the Jacksonian Era to the Advent of Rock

217

(26)

Popular Song from the 1830s Through the Civil War

217

(7)

Popular Song from the Civil War Through the Ragtime Era

224

(6)

The Band in America After the Jacksonian Era

230

(4)

Popular Song from Ragtime to Rock

234

(1)

Tin Pan Alley and Its Relation to Jazz and Black Vernacular Music

235

(8)

PART FIVE. Jazz and Its Forerunners

243

(44)

Chapter 13. Ragtime and Pre-Jazz

243

(18)

The Context of Ragtime from Its Origins to Its Zenith

243

(3)

The Musical Characteristics of Ragtime

246

(4)

The Decline and Dispersion of Ragtime

250

(3)

The Ragtime Revival

253

(1)

Pre-Jazz

254

(7)

Chapter 14. Jazz

261

(26)

The New Orleans Style: The Traditional Jazz of the Early Recordings

261

(2)

Dissemination and Change: The Pre-Swing Era

263

(4)

The Swing Era and the Big Bands

267

(4)

The Emergence of Modren Jazz: Bop as a Turning Point

271

(6)

The Pluralism of the Last Quarter Century

277

(10)

PART SIX. Classical Music

287

(106)

Chapter 15. Laying the Foundation: Accomplishments from the Jacksonian Era to World War I

287

(21)

1830-1865: Education and Reform in a Time of Expansion

288

(1)

Outspoken "Nativists" of the Mid-Nineteenth Century

289

(5)

Louis Moreau Gottschalk and the Virtuoso in Nineteenth-Century America

294

(2)

After the Civil War: The Pursuit of Culture in a Time of Industrialization

296

(2)

The Second New England School

298

(2)

Five Individualists Around the Turn of the Century

300

(8)

Chapter 16. The Evolving Tradition, 1920-1970

308

(21)

Some Background for the "Fervent Years"

308

(4)

Music with Film

312

(3)

Music with Dance

315

(3)

Music with Poetry

318

(3)

Music Independent of Film, Dance, or Poetry

321

(8)

Chapter 17. Modernism I: New Ways with Old Tools

329

(23)

Charles Ives (1874-1954)

329

(10)

Henry Cowell (1897-1965)

339

(3)

Lou Harrison and John Cage

342

(1)

Harry Partch (1901-74)

343

(3)

Edgard Varese (1883-1965)

346

(6)

Chapter 18. Modernism II: The Impact of Technology and New Esthetic Concepts